The Roughest Draft(2)
Instead, it’s worse.
“Try this.” The clerk thrusts the hardcover she’s chosen toward me. “It came out last week. I read it in, like, two days.”
Under the one-word title, Refraction, imposed over moody black-and-white photography, I read the name. Nathan Van Huysen. I look to where she got the book from, and I don’t know how I didn’t notice when I walked in. The cardboard display near the front of the store holds rows of copies, waiting patiently for customers, which tells me two things: high publisher expenditure, and it’s not selling.
His name hits me the way it does every time I see it. In New York Times reviews, in the profiles I try to keep out of my browser history—never with much success. The first is wishing those fifteen letters meant nothing to me, weren’t intertwined with my life in ways I’ll never untangle.
Underneath the wishing, I find harder, flintier feelings. Resentment, even hatred. No regret, except regretting ever going to the upstate New York writers’ workshop where I met Nathan Van Huysen.
I was fresh out of college. When I graduated from the University of Virginia and into the job I’d found fetching coffee and making copies in a publishing house, I felt like my life hadn’t really started. I’d enjoyed college, enjoyed the rush I got learning whatever I found genuinely interesting, no matter the subject—fungal plant structures, behavioral economics, the funeral practices of the Greco-Roman world. I just knew I wouldn’t be who I wanted to be until I wrote and published. Then I went upstate and found Nathan, and he found me.
I remember walking out of the welcome dinner, hugging my coat to my collar in the cold, and finding him waiting for me. We’d met earlier in the day, and his eyes lit up when he caught me leaving the restaurant. We introduced ourselves in more depth. He mentioned he was engaged—I hadn’t asked. I was single—I didn’t volunteer the information. It wasn’t like that between us. While we walked out to Susquehanna River Bridge in the night wind, we ended up exchanging favorite verses of poetry, reading them from online on our phones. We were friends.
For the whole lot of good it did us.
When I take the copy of Refraction, the clerk’s voice drops conspiratorially. “It’s not as good as Only Once. But I love Nathan Van Huysen’s prose.”
I don’t reply, not wanting to say out loud his prose was the first thing I noticed about him. Even at twenty-two, he wrote with influences fused perfectly into his own style, like every English course he’d ever taken—and Nathan had taken quite a few—was flowing out of his fingertips. It made me feel the things writers love to feel. Inspired, and jealous.
In my silence, the clerk’s expression changes. “Wait,” she continues, “you have read Only Once, haven’t you?”
“Um,” I say, struggling with how to reply. Why is conversation way easier on the page?
“If you haven’t”—she starts toward the bestseller shelf to fetch the paperback. I know what’ll happen when she catches sight of the back cover. Under the embarrassingly long list of starred reviews, she’ll see the author photos. Nathan’s blue eyes beneath the immaculate black waves of his hair, the dimple he only trots out for promotional photos and press tours. Then, next to him, she’ll find his coauthor, Katrina Freeling. Young woman, sharp shoulders, round features, full eyebrows she honestly loves. Professionally done makeup, dark brown hair pressed and polished, nothing like it looks when she steps out of the shower or she’s reading on the patio on sweaty summer days.
The differences won’t matter. The bookseller will recognize the woman right in front of her.
My capacity for speech finally returns. “No, I’ve read it,” I manage.
“Of course,” the girl gushes. “Everyone’s read it. Well, Refraction is one of Nathan Van Huysen’s solo books. Like I said, it’s good, but I wish he and Katrina Freeling would go back to writing together. I’ve heard they haven’t spoken in years, though. Freeling doesn’t even write anymore.”
I don’t understand how this girl is interested enough in the writing duo to know the rumors without identifying one of them in her bookstore. It might be because I haven’t done many signings or festivals in the past three years. Following the very minimal promotional schedule for Nathan’s and my debut novel, Connecting Flights, and then the exhausting release tour for our second, Only Once—during which I made my only previous visit here, to Forewords—I more or less withdrew from writerly and promotional events. It was difficult because Chris’s and my social life in New York centered on the writing community, and it’s part of why I like living in LA, where our neighbors are screenwriters and studio executives. In LA, when people learn you’re a novelist, they treat you like a tenured Ivy League professor or a potted plant. Either is preferable to the combination of jealousy and judgment I endured spending time with former friends and competitors in New York.
If you’d told me four years ago I would leave New York for the California coast, I would’ve frowned, or likelier, laughed. New York was the epicenter for dreams like mine, and Nathan’s. But I didn’t know then the publication of Only Once would fracture me and leave me reassembling the pieces of myself into someone new. Someone for whom living in Los Angeles made sense.
While grateful the Forewords bookseller hasn’t identified me—I would’ve had one of those politely excited conversations, signed some copies of Only Once, then left without buying a book—I don’t know how to navigate hearing my own professional life story secondhand. “Oh well,” I fumble. “That’s too bad.” No more browsing for me. I decide I just want out of this conversation.